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ES, OCTUBRE 02, 2006
El destino del hipervideo
Nora Paul, investigadora de la Universidad de Minnesota, decía que de las
pocas promesas que internet nos alentaba a fines de los 90 y que había
cumplido, fue el desarrollo del hipertexto. Hoy ya estamos en las tierras del
video y evidentemente el potencial para el desarrollo del trabajo periodístico
es aún mayor. Como todo en internet, hoy está plagado de sitios que carecen
de calidad, de buenos contenidos visuales o simplemente abundan en
dispersión, pero la amplitud de este "campo de batalla", evidentemente será un
nuevo atractivo para la publicidad, las universidades tecnológicas y las
empresas. Pero especialmente para los medios, que podrán dar a la
enciclopedia visual un formato periodístico.
THE rise of the web transformed hypertext—which allows readers to click on a
word in one document and be transported to another—from an obscure concept
in computer science to a familiar, everyday technology. Might hypervideo—
which lets viewers click on a moving image to call up a related clip—be on the
verge of a similar transformation? This nascent development, also called videohyperlinking, makes it easy to link together segments of online video in novel
ways. Andreas Haugstrup Pedersen, a video blogger (or “vlogger”) based in
Aalborg, Denmark, who likes to video-hyperlink clips on his website, says the
technology is a “vlogger's dream”.
Hyperlinking video involves the use of “object-tracking” software to make
filmed objects, such as cars, clickable as they move around. Viewers can then
click on items of interest in a video to watch a related clip; after it has played,
the original video resumes where it left off. To inform viewers that a video is
hyperlinked, editors can add highlights to moving images, use beeps as audible
cues, or display still images from hyperlinked videos next to the clip that is
currently playing.
As the amount of video available online increases, so do the possibilities for
linking clips together. Someone watching a documentary about the 20th
century, for example, could click on the face of John F. Kennedy and be directed
to newsreel footage of him. Further clicks might lead to the trailer for “Thirteen
Days”, a film about the Cuban missile crisis, to an interview with protagonistactor Bruce Greenwood, and to a film promoting tourism in Hollywood. Just as
hyperlinking disrupts the traditional structures of written text, the same is true
of video.
But sometimes a hyperlinked structure makes more sense than a linear
narrative. Researchers at the Technical University in Darmstadt, Germany, for
example, have developed a system called ADIVI (a name derived from “add
digital information to video”). Siemens, an engineering firm, plans to use it to
enhance online-video technical manuals, so that technicians can click on a
particular component or system to summon up more detailed video clips. The
researchers call this “telescoping”. In contrast, at, a website
that is experimenting with hypervideo, the term “drilling” is used to describe the
ability to click on a talking head during a sound bite to summon an entire
interview. Such disagreements over terminology emphasise just how new the
technology is. Clickable areas in video clips, for example, are variously called
tracked objects, hotspots, and tagged pixels.
Another area of uncertainty is the etiquette of linking to other people's clips.
Hypervideo can either redirect viewers to another site and automatically start a
clip on that site at a desired scene, or display video from elsewhere within their
own websites. This practice, known as “hotlinking”, is controversial, since the
owner of the clip that is linked to may not be properly credited. So some sites
discourage hotlinking. But Andrew Michael Baron, the producer of
Rocketboom, a popular vlog based in New York, encourages hotlinking to his
content. “We're saying, ‘Hey, please do that',” he says. His only proviso is that
hotlinkers must not use his footage to make money by selling advertising
alongside it. Ravi Jain, another New York vlogger, jokes that this is a good time
to be a copyright lawyer, since hypervideo is so new that its legal consequences
are still unclear.
Then there is the matter of hypervideo's commercial potential. Advertisers are
understandably excited by the idea. Eline Technologies, based in Vancouver, is
doing brisk business selling hypervideo software called VideoClix to advertising
agencies and companies including Apple, Disney and Sony. The software makes
it possible to create online video clips that link to advertising or e-commerce
sites, or provide more information about particular products. The result is far
more powerful than a traditional television advert, says Babak Maghfourian of
Microsoft's adLab research centre in Beijing is working to incorporate
hypervideo features into the company's TV-over-broadband platform. And
Tandberg Television, a Norwegian firm that sells video-on-demand systems,
already sells a hypervideo system called AdPoint. It enables viewers to click on
certain objects in television shows to see a promotional video and to “drill” into
a commercial to see a longer version.
Tandberg is now working on a way to video-hyperlink film libraries. Viewers
would be able to click on, say, a tank in a movie to call up a menu of films or
military documentaries. Reggie Bradford of Tandberg says the result is
compelling. “You get the emotional experience of television, with the Google
experience of the internet,” he says. If all this sounds baffling and the
terminology, etiquette and business models seem unclear, it is worth
remembering that just a few years ago, that was true for hypertext, too.
Acesso em: 20/10/2006 -